Explores the relationship between authorship and technology in nineteenth-century America.

An account of the complex relationship between technology and romanticism that links nineteenth-century monsters, automata, and mesmerism with twenty-first-century technology's magic devices and romantic cyborgs. Romanticism and technology are widely assumed to be opposed to each other. Romanticism—understood as a reaction against rationalism and objectivity—is perhaps the last thing users and developers of information and communication technology (ICT) think about when they engage with computer programs and electronic devices. And yet, as Mark Coeckelbergh argues in this book, this way of thinking about technology is itself shaped by romanticism and obscures a better and deeper understanding of our relationship to technology. Coeckelbergh describes the complex relationship between technology and romanticism that links nineteenth-century monsters, automata, and mesmerism with twenty-first-century technology's magic devices and romantic cyborgs. Coeckelbergh argues that current uses of ICT can be interpreted as attempting a marriage of Enlightenment rationalism and romanticism. He describes the “romantic dialectic,” when this new kind of material romanticism, particularly in the form of the cyborg as romantic figure, seems to turn into its opposite. He shows that both material romanticism and the objections to it are still part of modern thinking, and part of the romantic dialectic. Reflecting on what he calls “the end of the machine,” Coeckelbergh argues that to achieve a more profound critique of contemporary technologies and culture, we need to explore not only different ways of thinking but also different technologies—and that to accomplish the former we require the latter.

When a friend drags Agatha “Aggie” Bowles to a romance convention, all she wants to do is find some new authors and a quiet spot to read. Instead of relaxing with a book, she ends up kidnapped by a steampunk cyborg. Which is as exciting as it sounds. Except for the fact he’s more interested in the cog hanging around her neck than Aggie herself. He’ll do anything to get his hands on it. Problem is other people want it, too. Can this cyborg relinquish a priceless treasure for love? Genre: cyborg romance, steampunk romance, science fiction romance, abduction romance, alien contact, space opera

Machines aren't supposed to feel, but this cyborg can't help falling in love.Assigned as a specimen collector for a captured cyborg, Chloe is intrigued by the machine disguised as a man. Kidnapped during his daring escape, he shows her that despite the chip in his brain, his humanity is not completely lost.Formerly known as unit X109GI, Joe is on a quest to discover his origin. While he doesn't find the answers he's looking for, he does discover that affection and lust aren't just for humans. But when it comes to a battle between logic and love, which side will the cybernetic organism—once a man—choose?Evaluating his feelings will have to wait though because the military isn't done with Joe. But their threats against him pale in comparison before the shocking discovery of project C791, the revelation of which stuns the rebel cyborgs—and ignites a fury for vengeance.

The Oxford Handbook of Philosophy of Technology gives readers a view into this increasingly vital and urgently needed domain of philosophical understanding, offering an in-depth collection of leading and emerging voices in the philosophy of technology. The thirty-two contributions in this volume cut across and connect diverse philosophical traditions and methodologies. They reveal the often-neglected importance of technology for virtually every subfield of philosophy, including ethics, epistemology, philosophy of science, metaphysics, aesthetics, philosophy of language, and political theory. The Handbook also gives readers a new sense of what philosophy looks like when fully engaged with the disciplines and domains of knowledge that continue to transform the material and practical features and affordances of our world, including engineering, arts and design, computing, and the physical and social sciences. The chapters reveal enduring conceptual themes concerning technology's role in the shaping of human knowledge, identity, power, values, and freedom, while bringing a philosophical lens to the profound transformations of our existence brought by innovations ranging from biotechnology and nuclear engineering to artificial intelligence, virtual reality, and robotics. This new collection challenges the reader with provocative and original insights on the history, concepts, problems, and questions to be brought to bear upon humanity's complex and evolving relationship to technology.

Palgrave Handbook of Critical Posthumanism is a major reference work on the paradigm emerging from the challenges to humanism, humanity, and the human posed by the erosion of the traditional demarcations between the human and nonhuman. This handbook surveys and speculates on the ways in which the posthumanist paradigm emerged, transformed, and might further develop across the humanities. With its focus on the posthuman as a figure, on posthumanism as a social discourse, and on posthumanisation as an on-going historical and ontological process, the volume highlights the relationship between the humanities and sciences. The essays engage with posthumanism in connection with subfields like the environmental humanities, health humanities, animal studies, and disability studies. The book also traces the historical representations and understanding of posthumanism across time. Additionally, the contributions address genre and forms such as autobiography, games, art, film, museums, and topics such as climate change, speciesism, anthropocentrism, and biopolitics to name a few. This handbook considers posthumanism’s impact across disciplines and areas of study.

A cross-disciplinary theological engagement with proposals for the technological enhancement of humans, including radical life extension, mind-uploading, mood enhancement and moral enhancement. This work draws on metaphor studies, cognitive sciences, and literary studies to develop an account of human creativity in relation to divine creativity.

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.

A reconception of the sublime to include experiences of disaster, war, outer space, virtual reality, and the Anthropocene. We experience the sublime—overwhelming amazement and exhilaration—in at least seven different forms. Gazing from the top of a mountain at a majestic vista is not the same thing as looking at a city from the observation deck of a skyscraper; looking at images constructed from Hubble Space Telescope data is not the same as living through a powerful earthquake. The varieties of sublime experience have increased during the last two centuries, and we need an expanded terminology to distinguish between them. In this book, David Nye delineates seven forms of the sublime: natural, technological, disastrous, martial, intangible, digital, and environmental, which express seven different relationships to space, time, and identity. These forms of the sublime can be experienced at historic sites, ruins, cities, national parks, or on the computer screen. We find them in beautiful landscapes and gigantic dams, in battle and on battlefields, in images of black holes and microscopic particles. The older forms are tangible, when we are physically present and our senses are fully engaged; increasingly, others are intangible, mediated through technology. Nye examines each of the seven sublimes, framed by philosophy but focused on historical examples.

Sixteen-year-old Tyri wants to be a musician and wants to be with someone who gets her musical aspirations. Q-I-99, aka 'Quinn, ' lives in a scrap metal sanctuary with other rogue droids. While some use violence to make their voices heard, demanding equal rights for AI enhanced robots, Quinn just wants a moment on stage with his violin to show the humans that androids like him have more to offer than their processing power. Tyri and Quinn's worlds collide when they're accepted by the Baldur Junior Philharmonic Orchestra. As the rift between robots and humans deepens, Tyri and Quinn's love of music draws them closer together, forcing Tyri to question where her loyalties lie and Quinn to question his place in the world. With the city on the brink of civil war, will Tyri's and Quinn's passion for music be enough to hold them together while everything else crumbles down around them, or will the truth of who they are tear them apart?